Joseph W. bourke
Forum Replies Created
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Sounds as if you’re using a Target Camera – try using a Free Camera. There are also several ways to make Max’s cameras more friendly using nulls to rig them, but the Free Camera will do the trick for what you described.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
It sounds to me as if you want to find out how to shoot the main talent in realtime, then shoot the background action timelapse, then composite the two? Here’s a short on how one person did it, not very well produced, but the explanation is good:
https://www.youtube.com/watch?v=Jab26jwtqAM
Joe Bourke
Owner/Creative Director
Bourke Media
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I agree with both you and Mark. There’s a certain cleanness that it’s hard to put a finger on, which you don’t get with the raster capture of Camtasia or other screen capture footage. That said, I’ve done promos in the past, in which I captured a still of a web site at the highest rez my graphics card could muster, then cut it apart in Photoshop, and animated it in After Effects, just to give it a bit more excitement. There are lots of possible answers to the puzzle, and none of them are wrong…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Generally the best way to achieve the most realistic result is to put the layer with the flare on it in Add mode. It adds the value of the brighter pixels in the flare to the background layer, making for a better look than just making it keyable.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
If you follow along on the tutorial you posted, there isn’t anything I can see that you can’t do with Audition, short of the specific Maximizer plugin, which of course you can add, as a VST plugin to Audition, if you have 250 dollars to throw around. The only difference you’ll find is that Audition doesn’t have the skeuomorphic interface design you see with Reason. But if you walk your way through the tutorial, and apply similar settings in Audition, you can get very close. It’s time to learn something about audio, and simply mimicking the settings shown in the tutorial is a good way to start.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I have no experience with that, but here’s a good source of answers:
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
MIDI stands for Musical Instrument Digital Interface, and has been adopted by the lighting industry as a live events standard. To control fixtures, you need some sort of show controller software. Here’s some info and a list of software:
https://en.wikipedia.org/wiki/MIDI_Show_Control
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
The classic deep advertising voice has nothing to do with effects. It is based on hiring a voice talent who has, in the industry parlance, “The Voice of God”. Those who have that voice make hundreds of thousands of dollars a year, and are in great demand. If it could be achieved with an effect, everyone would be doing it, and the people with the talent would be out in the street.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
In Photoshop you’d have to do it frame by frame, unless the objects you want to isolate aren’t moving. In After Effects, you could use the RotoBrush, and save days worth of time.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I would use Particle Flow in 3DS Max. You can create 3 or 4 particles, assign them to Particle Flow, then animate the texture maps so that they are changing over time (from wireframe to solid grey). Done. I’ll bet you could achieve it in the CC version of After Effects with a C4D particle system, but I’m still on CS6.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com